David Edelstein

David Edelstein is a film critic for New York magazine and for NPR's Fresh Air, and an occasional commentator on film for CBS Sunday Morning. He has also written film criticism for the Village Voice, The New York Post, and Rolling Stone, and is a frequent contributor to the New York Times' Arts & Leisure section.

A member of the National Society of Film Critics, he is the author of the play Blaming Mom, and the co-author of Shooting to Kill (with producer Christine Vachon).

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Movie Reviews
7:30 am
Fri December 13, 2013

A 'Hustle' With Flow (And Plenty Of Flair)

A '70s con-artist couple (Christian Bale and Amy Adams) are forced to team up with an FBI agent (Bradley Cooper, right) in American Hustle, inspired by a real-life sting targeting corrupt politicians.
Francois Duhamel Columbia Pictures

Originally published on Fri December 13, 2013 2:46 pm

David O. Russell hovers at the top of my list of favorite directors. He captures the messy collision of self-interests that for him defines America. In American Hustle, he whips up a black comedy based on Abscam, the late-'70s FBI sting that centered on a bogus sheik and led to the bribery convictions of sundry U.S. politicians. But he doesn't tell the real Abscam story; he adapts it to fit his theme, which is that most of us are busy reinventing ourselves and conning one another.

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Movie Reviews
1:34 pm
Fri December 6, 2013

Great Soundtrack Aside, 'Inside Llewyn Davis' Hits A Sour Note

In the Coen brothers' latest film, down and out Llewyn Davis (Oscar Isaac) is trying to make ends meet as a folk singer in New York in the early 1960s.
Alison Rosa Long Strange Trip/CBS Films

Originally published on Fri December 6, 2013 3:05 pm

The films of Joel and Ethan Coen pose a challenge: How do we reconcile their wildly disparate tones? Consider O Brother, Where Art Thou?, a burlesque of Homer's Odyssey centering on three stumblebums — but with a soundtrack assembled by T Bone Burnett of heartfelt historical gospel and country music. Ditto The Ladykillers: venal idiot characters, soaring African-American spirituals. The ridiculous and the sublime sit side by side, with no spillover.

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Movie Reviews
7:03 am
Fri November 29, 2013

A Korean Cult Thriller Gets A Spike Lee Makeover

After 20 years in captivity, Joe (Josh Brolin) is released into the world with a hammer and an appetite for revenge in Oldboy, a Spike Lee remake of the 2003 South Korean film.
Hilary Bronwyn Gayle FilmDistrict

Originally published on Mon December 2, 2013 10:04 am

Spike Lee's movies typically carry the label "A Spike Lee Joint," but Oldboy doesn't. He calls it "a Spike Lee Film," which my guess is Lee's way of saying he's a gun for hire — and that after a line of box office failures and difficulty getting financing for personal projects, he can make a fast, violent action thriller.

And as it happens, he can — a more-than-decent one. But this is also the first time I've come out of a Spike Lee film, bad or good, and not known why it had to be made. It's brutal, effective and utterly without urgency.

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Movie Reviews
2:57 pm
Fri November 15, 2013

Across 'Nebraska,' On A Journey That Goes Beyond The Trip

David (Will Forte, left) and his father, Woody (Bruce Dern, center), take time out of their quixotic journey to stop in Woody's small Nebraska hometown — where Woody's old business partner, Ed (Stacy Keach), is still nursing a grudge.
Merie W. Wallace Paramount Pictures

Originally published on Fri November 15, 2013 5:47 pm

Last month, I saw the trailer for Alexander Payne's Nebraska, and only the fact that it was a Payne film made me want to see it.

The premise seemed a dead end: Bruce Dern plays an elderly man named Woody Grant living in Billings, Mont., who gets a letter saying he's won $1 million. All he needs to do is call a number and maybe buy a magazine subscription.

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Movie Reviews
12:22 pm
Fri October 25, 2013

In Emotionally Charged 'Blue,' Sex Is Graphic, But Not Gratuitous

Blue Is the Warmest Color chronicles the love affair between high school student Adèle (Adèle Exarchopoulos, left) and Emma (Léa Seydoux), who is older and more experienced.
IFC Films/Sundance Selects/Wild Bunch

Originally published on Fri October 25, 2013 2:30 pm

Blue Is the Warmest Color is a lesbian coming-of-age movie, and its long and graphic sex scenes have already generated controversy. The director, Abdellatif Kechiche, is a man, and at least one prominent female critic has accused him of leading with his own libido — a charge that I vigorously dispute, but of course I'm a man so take that as you will. Here's what I saw: a film that captures the intensity of sexual discovery — and dependency — in a way I've never seen. It's 179 minutes, every one of them charged. It's a remarkable experience.

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Movie Reviews
11:50 am
Fri October 18, 2013

At Home At Sea: Robert Redford, At His Best Alone

Robert Redford stars in All Is Lost as a solitary man struggling to make his yacht seaworthy again after it collides with a rogue shipping container adrift in the Indian Ocean.
Richard Foreman Roadside Attractions/Lionsgate

Originally published on Fri October 18, 2013 3:38 pm

As I watched Robert Redford acting all by himself in the superlative survival-at-sea movie All Is Lost, I suddenly realized why the setup feels so perfect: Redford is most in his element when he's alone.

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Movie Reviews
12:11 pm
Fri October 11, 2013

A Pirate Saga More Sobering Than Swashbuckling

Barkhad Abdi (middle) plays Muse, the leader of a band of Somali pirates who take over a freighter in Captain Phillips.
Hopper Stone Columbia Pictures

Originally published on Fri October 11, 2013 1:52 pm

Most kidnapping melodramas have final scenes — after their climaxes — that are, effectively, throwaways. There are sighs of relief, tearful reunions with families, cameras that dolly back on domestic tableaux to suggest the world has at last been righted.

I think it's telling that in Captain Phillips the most overwhelming scene is after the resolution, in the infirmary of a ship. So much terror and moral confusion has gone down — so much pain — that the cumulative tension can't be resolved by violence. The movie's grip remains strong even when it cuts to black.

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Movie Reviews
1:58 pm
Fri October 4, 2013

Houston, We Have A Space Flick: A Sentimental Mission In Zero 'Gravity'

In Alfonso Cuaron's Gravity, Sandra Bullock plays Ryan Stone, an astronaut careening through space after an accident.
Warner Bros.

Originally published on Fri October 4, 2013 2:51 pm

In a season in which we're all talking about AMC's phenomenal Breaking Bad and Netflix's elating Orange Is the New Black, Hollywood needs you, your kids and everyone in Europe and China to get out from behind those TV monitors and into theaters. Movie studios are falling behind on compelling narratives. But they can give you what TV can't: absolute, total bombardment.

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Movie Reviews
12:16 pm
Fri September 27, 2013

Gordon-Levitt's 'Don Jon' Is An Openhearted Directorial Debut

Joseph Gordon-Levitt --€” in his writing and directing debut --€” plays Jon, a porn addict with no interest in relationships until Barbara (Scarlett Johansson) changes things.
Relativity Media

Originally published on Fri September 27, 2013 2:15 pm

In phe last decade, Joseph Gordon-Levitt has worked hard to establish himself as a serious actor, and he's been so successful it's easy to forget he came of age in the '90s sitcom 3rd Rock from the Sun. The guy has comedy chops, and he's exercising them again in a smart new movie he wrote and directed called Don Jon.

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Movie Reviews
1:30 pm
Fri September 20, 2013

Gandolfini Is So Vivid In 'Enough Said,' You Forget He's Gone

James Gandolfini plays a divorced TV archivist who falls in love with a divorced masseuse, played by Julia-Louis Dreyfus, in Nicole Holofcener'€™s Enough Said.
Lacey Terrell Fox Searchlight

Originally published on Fri September 20, 2013 1:42 pm

Nicole Holofcener's Enough Said is her most conventional comedy since her 1996 debut, Walking and Talking. I don't love it as much as her scattershot ensemble movies Friends With Money and Please Give, but it has enough weird dissonances and hilarious little curlicues to remind you her voice is like no other. I love it enough.

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